Here's everything you need to know about the world of television for Wednesday, March 19th, 2025:
PRODUCTION NOTES
The word "community" is so overused in the newsletter industry that it has almost become a trope. But there are times when I am reminded that we can make connections in unexpected ways, and while I'm not sure if that fits the classic definition of "community," it sure feels like something real.
I posted a quick note on Monday letting all of you know that I was going through some medical stuff and had a procedure done earlier that day. Which meant that I wasn't going to do a newsletter for a couple of days. I truly love doing this newsletter, but as you might imagine, I also feel a lot of pressure to crank out new stuff as often as I can.
I sent the post out just to keep all of you in the loop. But I honestly didn't expect the reaction I've received since then. I have received hundreds of messages from many of you offering encouragement, and letting me know that you'll be here when I can come back. There were so many nice notes and I wish I could respond to all of them. But I stop counting after I received 300.
They might sound strange coming from a guy who makes his living writing, but I can't describe what that support means to me. I was having a tough day and likely there are some difficult ones ahead. But knowing that there is somewhere I can connect with readers and talk about the things that matter to me is priceless.
Thank you. And now to our regularly scheduled programming. And btw, if you can pass tonight's newsletter on to other people, I would appreciate it. This is another one of those "you read it here first" pieces.
HOLLYWOOD BRACES FOR BORDER ENTRY CRACKDOWN
I wrote last week that several smaller Hollywood agencies had begun warning foreign national clients to be prepared for increased scrutiny when crossing the border in and out of the United States. That warning seems to have been ignored for the most part by actors, writers and producers who are accustomed to the familiar border entry process that has been in place for more than a hundred years.
That complacency has evaporated in recent days, as news reports have begun surfacing that random visitors headed to the United States to attend scientific conferences or other events have been held at the U.S. border by border patrol agents, and in some cases had their electronic devices seized before being denied entrance into the country.
LeMonde reported that a French scientist headed to conference in Houston was denied entry into the country after messages critical of President Trump were found on his phone:
"I learned with concern that a French researcher" on assignment for the French National Center for Scientific Research (CNRS) "who was traveling to a conference near Houston was denied entry to the United States before being expelled ," said the Minister of Higher Education and Research, Philippe Baptiste, in a statement sent to Agence France-Presse (AFP). "This measure was apparently taken by the American authorities because the researcher's phone contained exchanges with colleagues and friends in which he expressed a personal opinion on the Trump administration's research policy ," he added.
According to a diplomatic source to AFP, the incident occurred on March 9. The space researcher was reportedly subjected to a random check upon arrival, during which his work computer and personal phone were searched. The same source also reported that messages discussing the Trump administration's treatment of scientists were found. He was reportedly accused of messages "that reflect hatred toward Trump and can be described as terrorism ." His professional and personal equipment was reportedly confiscated, and the researcher was sent back to Europe the next day.
"People are freaked out," one mid-level manager told me via email on Wednesday. "No one knows what might trigger a problem or cost them a job because they suddenly aren't allowed into the country."
"I am here legally," one young actor who asked not to be identified for obvious reasons told me via Signal. "But I see these students who are here legally being deported because they said something publicly that a government official has decided is treasonous. I haven't been quiet about my unhappiness with Trump. Does that mean one day I won't be able to get back into the U.S. Or even worse, dragged off the set by ICE agents who have declared me a terrorist?"
And it's not just Hollywood creatives facing an increased crackdown on border entry in the United States. It's not uncommon for visitors from Canada and other countries using a non-work visa to enter the country. And that is just what you think it is. An Electronic Tourist Visa (or ESTA) provides entry into the country for two years, but you promise not to work.
The problem is that in the past, the "work" threshold was primarily defined as "doing something for money." So for instance, a writer or comic book artist to travel to the U.S. on a non-work visa to attend a convention. Even though technically, receiving free accommodations or a speaking fee might be considered work. But the line isn't legally clear, because according to the law, you can use the ESTA for "travel to the U.S. to conduct business." But you can't "work.
Border agents have apparently begun cracking down on that distinction, so much so that I am hearing reports that some authors and artists are declining to travel to the U.S. to attend conventions. It doesn't appear to be a widespread trend yet, but with the escalating pressure and increase of reporting on problems at the border, I would expect that to continue.
One thing that seems to have increased in recent days is an increased number of requests by border agents for people crossing into the U.S. to unlock their devices, provide passwords, or disclose social media information.
According to the Electronic Freedom Foundation, if you refuse, agents can seize your devices. Citizens of the U.S. will likely be let into the country, although they could legally be held in custody pending some "investigation." If you are a lawful permanent resident, agents might "raise complicated questions about your continued status as a resident." And if you are a foreign visitor, refusing access to the devices will likely mean you'll be denied entry into the country.
And that brings up what one manager told me was one of the things that is keeping him up at nights in recent days. "It's clear the Trump Administration likes show crackdowns," he told me. "They like doing shocking things that are meant to scare everyone into compliance. If you believe that is the way they operate - and I do - the logical step would be to target some mid-level actor who isn't a U.S. citizen and has made some comments about Gaza or something like that. Stop them at the border, make a show of keeping them in ICE custody for a day or so until their lawyers spring them. All in an effort to show Hollywood who is boss."
I asked what the impact would be in the American TV and movie industry if that happened. There was a very long pause before he answered. "It would be an extinction-level event. This would be worse than the Red Scare 75 years ago. We would never recover and no one would ever trust us again."
If you have a tip or feedback on this story, email me confidentially at
WOULD I LIKE TO INTERVIEW TED SARANDOS? YES. WOULD IT LOOK ANYTHING LIKE THIS VARIETY INTERVIEW? NO COMMENT
It can be tricky writing about an interview conducted by another journalist. Especially when it's an interview with someone whom you would clearly LIKE to talk to yourself. So I debated a bit about how much I wanted to dissect this Variety interview with Netflix co-CEO Ted Sarandos, which is their current cover story.
But I found this interview frustrating in both structural and substantive ways, so I feel as if I need to push back on it at least a bit. You can decided whether or not I'm being unfair.
First, I'll just make the observation that if you are touting the interview lasted 90 minutes, perhaps you should include most of the interview. Especially online, when you have a near unlimited editorial window you can fill.
Second, if you are going to mention that no "question was off-limits" in the interview, then maybe these shouldn't be your first questions:
How has it felt to be at Netflix for 25 years?
Was there ever a time you thought you might leave Netflix?
What are you excited about this year?
How would you describe the “Stranger Things” final season?
I don't think I'm being unfair to suggest that if you have the opportunity to speak with an executive who rarely grants interviews, that it might be a good idea to really dig in and ask some substantive questions.
Now to be fair, Sarandos is a media savvy guy and I don't think you can go into an interview with him trying to play "gotcha." But there were a lot of missed opportunities and because of that, Variety frames the interview in strange ways. In the intro, the wraparound highlights that Sarandos is going to comment on the content philosophy of Apple TV+. And this is literally the only exchange that is included in the print interview:
What about Apple?
I don’t understand it beyond a marketing play, but they’re really smart people. Maybe they see something we don’t.
However, there are a couple of interesting sections in the interview. Such as these comments about the Imax release of Narnia:
So this wasn’t something she demanded?
It wasn’t some giant deal we had to salvage. We wanted to support it and figure out something new. The one thing we haven’t really tried is a big Imax release. Imax is hugely differentiated from at-home watching. When I go to the theater, it’s getting closer and closer to at home. But Imax is super differentiated. The two-week run for “Narnia” will check all the boxes for awards qualifications and create a bit of an event. We’re happy to do it.
The most insightful part of the discussion was this discussion about the Netflix it had with Marvel:
That deal included “Daredevil,” “Jessica Jones” and “Luke Cage.” Do you think the TV shows that Marvel is producing for Disney+ are successful?
I think they are. I mean, I don’t know because they don’t release any numbers.
On our shows, we were dealing with the old Marvel television regime, which operated independently at Disney. And they were thrifty. And every time we wanted to make the shows bigger or better, we had to bang on them. Our incentives were not well aligned. We wanted to make great television; they wanted to make money. I thought we could make money with great television.
What did you learn from that experience?
You want to work with people whose incentives are aligned with yours. When people are producing for you, they’re trying to produce as cheaply as possible. My incentive is to make it as great as possible. That’s a lesson that I take forever. As producers, whatever [Marvel] didn’t spend, they kept. So every time we wanted to add something to the show to make it better, it was a fistfight.
This was an interesting insight, because it pushes back against the conventional wisdom about the deal. That Netflix didn't understand what it had or was unwilling to spend the money required for the shows.
And I wish there would have been more more of those types of questions. Given that you know Sarandos is going to be circumspect about a lot of things, I think it would have been more productive to ask more questions about Netflix's content valuation and business model (which almost no one in Hollywood understands) and fewer open-ended questions that are going to elicit a careful PR-friendly answer:
Do you think you can get Taylor Swift on a Christmas Day football game before she does the Super Bowl?
That’s a good challenge! We did get her in the stadium this year.
All of the complaints aside, I'm happy to see Sarandos sit down for an extended interview. I only wish he would do them more often.
ODDS AND SODS
* The Park Hae-soo South Korean drama Karma will premiere on April 4th. Here is the first look video. And here is a photo gallery.
* Paid subscribers received my thoughts today on how Netflix mishandled the release of The Electric State.
* Paramount+ has ordered a third season of School Spirits.
* In an effort to drag out the free press as much as possible, Netflix announced today that season two of its NFL docuseries Quarterback will premiere "in July."
WHAT'S NEW TONIGHT AND TOMORROW
WEDNESDAY, MARCH 19TH, 2025:
Booked: First Day In Season Premiere (A&E)
Gannibal Season Two Premiere (Hulu)
Good American Family (Hulu)
Hyper Knife Series Premiere (Hulu)
Opry 100: A Live Celebration (NBC)
Shifting Gears Season One Finale (ABC)
Stadium Lockup Series Premiere (A&E)
Star Wars: Young Jedi Adventures Season Two Part Two Premiere (Disney+)
The Twister: Caught In The Storm (Netflix)
Tokyo Revengers Season 2B Premiere (Hulu)
Women Of The Dead Season Two Premiere (Netflix)
THURSDAY, MARCH 20TH, 2025:
Accused: Guilty Or Innocent? Season Premiere (A&E)
Bet Your Life Series Premiere (Netflix)
Darwin (ALLBLK)
Farmer Wants A Wife Season Premiere (Fox)
Happy Face Series Premiere (Paramount+)
Home Is Where The Heart Is Series Premiere (Hallmark+)
Last One Laughing UK Series Premiere (Prime Video)
Ludwig Series Premiere (Britbox)
O'Dessa (Hulu)
The Residence Series Premiere (Netflix)
Tyler Perry's Duplicity (Prime Video)
Wolf King Series Premiere (Netflix)
SEE YOU ON THURSDAY!